Multi Effects Demo with Flux

 

Mastering The Maschine

 

Lesson Info

Multi Effects Demo with Flux

I want to show how you can use a drum break that is very stagnant and completely restructured, all right? So very straightforward drum break, right? So let's, go into our sample at an area, the slicing all right, and we're going to adjust our slices to sixteen slices when I do that, I have each individual hit now, okay, I'm not goingto go super deep went to find tuning it because you can do that when you're wasting time in your own studio, but you can, of course, adjust each individual slice I'm not doing that. I just want the individual pieces, so I'm hitting apply to to a new group it's going to be flashing? I'm not touching any pad. If I touch a pad, it will slice it all to one pad. I don't want that I want to be its own group. I'm heading apply now now each individual slice and the pattern is here. So right now we only have group c plane, so it sounds pretty much like the original break and that's kind of similar to what jake was talking about before rex files, where x files were p...

re sliced samples that had patterns embedded in the metadata so that when you loaded them up, you would have a middie loop. That would play that sample for you this is the same kind of thing being on the individual group I now have the ability to rearrange these samples wherever I want them okay so I had the kick I like the kick all right I'm going to duplicate this kick over to a new group and a new pad just holding down duplicate hitting the pad that I want to duplicate touching the new group and then touching where I wanted to go now that kick is here this's a high hat again I talked earlier when we were designing sounds how I like my drums to be structured in the same way so the high hat we wanted on pad three duplicate go to new group is going to pad three find this near that I like duplicate it all right now I want to find it a little bit longer high hat piece way our way I can now replay this drone loop however I want now I'm going to grab just a couple more pieces from it your purpose of change pulling these into a new group so it could be laid out exactly how you want it exactly the way you like I'm making a whole new drum kit from a very stagnant loop right from just a simple drum loops so now I have this this drum group that's all new and I can play it however I want right so some some very basic, simple tips on this is going to be setting up a couple of chokes, so my high hats, I like them to choke each other off, so they're going to be group one e I have snares are, you know, in my second row here, so I do it in ruse, so I have kicks all here snares all here, high hats, high hats, and then usually in the very top row, I'll do a percussion or crashes things like that and it's, just very easy to kind of keep keep an idea of where you're putting sounds if you stay consistent. Another tip with this is if you go to the software, uh, you'll see you can you see if I can get to it here? I can't remember where I'm at, ok? So if I right, click on the sound, okay, I can go to color and let's say, this sound up here, I wanted to be read, and that way, I know that this is a crash, you know? So you can color your sounds out, and when you save the group, it will save with the colors so that you'll easily be able to go back and say, you know, what I always use, red is my as my crash sound so I know where it's going to be a you know and that makes it really powerful when you're in a live setting and maybe you're just trying to come up with something on the fly or you're doing a deejay say and you want to add some quick drums to go along with whatever you're playing if you color your sounds, you don't even have to look at the screens or anything else because you'll know what's on your controller so can you show us suddenly your multi of fixed of yeah, I'm getting to that in about two seconds you got two seconds no, I'll be on play okay, so I had this drone group laid out all right and let's go ahead and I have a couple of shakes all right? Let's just tio see that? So I had this drum group that I've basically just turned into a different style of break right very and I'm purposely keeping it very basic and open s o now what I can do and of course you can again let's go ahead and just click right here I'm going to go to my green stretch I'm going to throw that on here I'm gonna put this up five percent this is going to go toe one and I have this how I want it so I can of course again I can do this and I'm only keeping that they're just so I have control later let's go ahead and get into the to the fun aspect of it this thing yeah that's gotta kill so let's let's basically we're going to route everything through a series of sounds now so on the sound level shift browse and the first thing I want to send everything through is a compressor allude that alright on each sound I'm going to do a couple of effects ok, so now we can do shift insert which is another tip from j k the other day that I'm using and liking very much uh let's do a still beat delay on insert and now I'm going to add um some lo fi ok then inserted thank you that's all right, you know I'll keep it where it is it's not a big deal because I'm gonna be using multiple pads so now on this on this second pad here I'm gonna add a filter well that and then filter and let's do the knox squared? I mean ice so now I have two pads set up and I'm going to route them to each other. Ok? So let's go to channel go to the first pad and I'm going to select output instead of sending output to group we're going to go to we're on group e so e s two so hee sound too all right now that we have that, I can go to, you'll see that, um, this pad here is going to the group, so this pad is not going to anything but to this pad. This pad is going out to the group group goes out to the master, all right, going back to d, what I'm going to do is send in auxiliary out to e sound one, and this is also flexible, because if you set up these these chains, these effects chains, you can stage them differently, you can send, and you can send multiple groups into one group or one pad, so you could have let's say I had three or four different pad set up with different effects on them, the same group a into the first pad, which is going through the entire effects, shane, or send group b along with that to pad three, so it comes in way later in the effect stage, and then it all gets some together at the end. So this is a way of kind of making things all gel together and at the same time, having flexibility of your effects everybody's following along. Good. So now when I play this now, I'm going to start affecting each piece differently. The interesting thing is, when you hold down, select in touch a pad I've gotten to the point where it's it's second nature now toe hold down select while I touch a pad because in a live performance setting, if I select a pad any drum pad, I'm going to be triggering sounds but if you actually if you hold down select why you touch a pad, you won't trigger the sound ok, yeah so the ice I'm going to drop that down this size on the drop it down just a little bit I'm just I'm basically playing with the effects right now using the top buttons up here to select between the effects that are on each pad, the filter um let's get over here were dropped that kind of low with residents kind of hi um we can leave the mod offer now and scared this pad here when I dropped the output of this down, what I'm doing is I'm setting up um a very vicious it's going to be it's it's an extreme effects chain, okay, um and actually on the end of all of this, yeah, maybe I should do it before it, so I'm going to throw a saturate er and the saturate er is going to be really ruckus ruckus we like ruckus man that's right that's, right? So about the ruckus exactly and with that I'm going to be able to offer me how raucous we get ok automate the ruckus man is you heard it here first it's all about the rockies so going back to the original drunk break group and going to our channel which is where our inputs and outputs air set we had that level all right, now we're on an auxiliary you have the freedom to go post or pre priya's before fader which means before the group is going to master this if this is on pre whatever you set the master output doesn't matter it's getting the same amount of signal ok if you do it post if you drop the group's volume it will drop the amount of volume that goes into the other effects chain so right now let's drop this way low on bring it off now here we go we can start playing with these effects I think they did that I made the same mistake that joe made earlier I sent just the sound to it so it's you know it's very easy just go back may get post, set it back two zeros that you don't screw anything up, go back to group okay and do it the right way I do that all the time so now now what you just turned down there I'm getting today what I'm doing is I'm selecting group going back to e and I'm adjusting the volume of in group, which is our effect group you see he didn't like that so the group or effect group is uh, happy accidents that was nice and forfeit good just like not hitting that knock simple, right? So so I can use the group knob to adjust the wet dry mix basically how much signal of this effect I'm getting and it's also important that you do that because then you can prevent yourself from clipping on master output as well? Yep, which is what was the whole purpose behind putting effects on separate pad? Is it just like because what what you can do with that is especially when you get into some of the third party effects that take a median put you can so let's say you have the mouth or the finger or any any many controllable effect if you throw that when the first lot of the pad it will accept media information so that's going to allow you to do things like if you're using the mouth you can actually have your drone group going into it and then play out what notes you wanted to resonate that and then you know you're going to be able to control your affect even deeper this way if you had it as an insert plug and you would not have that control so for instance, if you were trying to use the finger to get glitches if you use it as an insert effect, you're not going to have control over it properly. You can automate the twister knobs, but you can't automate the actual triggering from the keys, which is very important. Also along with that, having it on separate paths is going to allow you to get deeper into your modulation settings deeper into how much of the actual signal that you're sending. Okay, because, for instance, if I go back to pad one and we looked at the output, I can go here and I can send, uh, sorry output I can send, you know, just a little bit of the signal, the full signal, I can pan it, I can do all sorts of things that I wouldn't be able to do if it was an insert. Okay, so if you use things like, um, let's, say, a tw, the end of pad to I want to be absolutely sure that I'm not clipping, ok? Even though I'm going to get really, really raucous right now, I still don't want a clip, right? So I can go here shift brows, and I can either put a limiter on there. What I like to use for this particular function is the maximize er because I want essentially this is one of those points where we talked about brick along the way for me I want to brick wall the way form right now because it's a creative effect ok I want it to be really rocky rockets now too so you did all this and to kind of kind of bring it all full circle I believe we had a question from well known tone how would I save this multi effect? Okay but if you say I got I got on my ruckus all how I want it how do I say this so I can pull that up anytime that I want well essentially what you would do is you could go to your group level here alright you right click on it and you can click save as and then title it how you want it let's say I want to be this is the ruckus ok and I can save it to the group and now this is my ruckus group and that's going to show up in your browser under it should be under user and we would go to groups and let's get out of here and type it in here and there it is ruckus and when you say that that way it also saves any automation that was in that group as well so if you we talked about those automation patterns and stuff, all that stuff will get saved what's your multiple. Exactly. So, if you do many patterns to control effects that will be saved, if you do, you're automation that will be saved. You can save it, and then when you load it, you would load it. If you wanna have that there's a fast, you would click your your patterns button down here so that it would lewd with all those filter sweeps and glitches and changes and things of that nature.

Class Description

If you’re ready to take your production to the next level, join CreativeLive and JK Swopes (and guests Doug Lazy aka Knocksquared and Ken "Flux" Pierce) for an in-depth exploration of Maschine, the revolutionary way to sequence, sample, and add effects to any musical project.

Throughout this two day course, you’ll learn everything you need to know to take advantage of this unique, powerful beatmaking production system -- including its sequencer, sampler, and internal fx. JK will also cover the basics of working with Maschine’s extensive built-in library of sounds. JK will also cover the tricks and hacks that let you use Maschine to author your own library of sounds to use in your tracks. From fatter kicks to deeper snares, you’ll learn about simple tweaks you can add to any track to make it more complex and compelling.

No matter what genre of music you’re passionate about, this course will give you the tools you need to work effortlessly and innovatively.